Onstage she had an all-woman band, and the show used men only as dancers: decorative beefcake for her primarily female audience. Destiny’s Child sometimes aimed for songs of female solidarity like “Independent Woman” and “Survivor” - part of a Destiny’s Child medley during the set - while Beyoncé on her own usually keeps things one to one, addressing her man with passion or anger. But she was in constant motion, strutting in costumes (most of them silvery), from miniskirts to formal dresses, flesh-toned bodysuit to bikini to negligee.Īs the leader of Destiny’s Child and now on her own, Beyoncé presents herself as a hard-working, self-guided, amorous woman amid men who can be undependable but irresistible. Her two-hour set was a brilliant pop extravaganza that kept the songs at its center.īeyoncé needs no distractions from her singing, which can be airy or brassy, tearful or vicious, rapid-fire with staccato syllables or sustained in curlicued melismas.
She’s the woman with everything: the voice, the moves, the songs, the ideas and the clothes. Like many of Beyoncé’s songs, “Crazy in Love” treats romance as a power struggle, and it’s hard to imagine her not winning in the end. Her face was angry and exultant she belted the song with bright swoops and vehement rasps. Her band kicked into the funk beat of “Crazy in Love,” and she started to sing and dance, alternating stop-motion angular poses and serpentine shimmies, switching between robot and seductress.
Beyoncé walked onstage at Madison Square Garden on Saturday night, made a quick commanding gesture, and sparks rained down.
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